The text panel prefacing The Problem Perspective, the first major U.S. retrospective of German artist Martin Kippenberger, opens with a quote from Aristotle: “everything in moderation.” It then continues with the following statement: “Martin Kippenberger never got this message.”
Curatorial assistance or not, it doesn’t take long to pick up on the Dionysian overtones of Kippenberger’s work. At the entrance to The Problem Perspective an oat-covered Ford Capri peeks out into the foyer (a nudge to Anselm Kiefer) and continuing through the exhibit, the viewer passes by drunken street lamps (which unlike sober ones weave in and out of walls) deprecating self-portraits, and a junkie’s forest populated by disco balls, wooden pills, and ominously headless birch trees.
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The past two days passed by like two hours. We arrived at Pier 94 for the contemporary wing of the Armory Show at 4 p.m. Wednesday, in advance of the opening. Before we could actually see much art we starting seeing out-of-towners, such as Beyeler Fondation director Sam Keller, who used to direct Art Basel and Art Basel Miami Beach.
We cruised the first few aisles, where galleries like Deitch Projects and Victoria Miro held court, while taking pictures of New York Magazine art critic Jerry Saltz, Swiss Institute director Gianni Jetzer, and others. We snagged artist Maurizio Catalan and New Museum curator Massimiliano Gioni for an amusing photo at Lombard-Freid Projects booth and then headed over to the VIP lounge for a coffee break.
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